Catalogue > List by artist

Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.

Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

3050 K is an AI/Neural Net project which utilizes imagery of stage lighting (floods, spots, footlights, gels) sourced from 70 concerts and performances of rock music from the 1970’s. These images are in turn used as primary material for a Neural Net and provide the training model for the resultant imagery. The images which are generated from this process are visualizations of emergent forms and tableau which are the offspring of the original material. These images are then re-processed and provide the individual frames for a video representation of the GAN’s procedural and generative algorithmic creation. The hypnotic and somnambulant visuals are accompanied by a score I created, composed of a number of heavily processed aural artifacts from the era. The title ’3050 K’ is in reference to the average number of Kelvins used in stage and theatrical lighting.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Recent and past projects have focused on issues of visualizing and conditioning invisible, abstract and liminal material such as EMF, infrasonics, aggregate data and microclimates, while in other works the content is more explicit and political. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

dresden.cuba.clouds is a generative video which incorporates imagery from the skies above the city of Dresden coupled with footage of clouded ice formations and video from the Museum of the Revolution in Havana. This small database of video is processed in realtime and is sensitive to a number of parameters derived from, and responsive to, an audio recording of the Cuban "sonic attacks" of 2017. The footage of the skies and ice in particular also speak to notions of veracity as they are indistinguishable from one another. As a number of the reported cases of aural and cerebral trauma were inaudible, so too is this work. The choice of imagery from Dresden is a nod to its primacy in the place it occupies in the historical record, most obviously as the site of the devastating aerial bombing campaign during WWII. It is also referencing Dresden`s post-war history as a center of the cold war headquarters of the east German KGB/Stasi security services, notorious for their psyops, whose legacy continues today, largely unseen (and unheard it would seem). As a parable, foil and metaphor for the machinations of power and policy, this work is intended as a mute and disquieting presence, background noise.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the critically acclaimed Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe, including the 3rd Beijing International New Media Art Exhibition and Symposium in Beijing, Eyebeam, N.Y., Paços das artes, Sao Paulo, Brazil, The New Museum of Contemporary Art, N.Y., ISEA festivals in Nagoya, Japan, Belfast and Hong Kong and Cynet art in Germany. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Following the feel of black and white rising and falling through caverns and across plains.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Threads, strings, love`s touch attuned, rising like the dawn in song.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

A small universe unbound.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Locations that shift, split and spill over one another like sand in an hour glass. This is my world. A graphically-oriented spatial portrait, an in-camera layered tapestry: inversions and conversions that mark time with the chaos of my waking work-life, diffusing as it moves inward.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.

Light rayns-rains-reigns across a dream of tranquility that thickens, darkens and evaporates.

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals and have won numerous festival prizes, grants, and artist?s awards. He teaches film production in the Boston area, and works as editor, sound designer/editor, post-supervisor or music producer on various broadcast and theatrically-released productions.

Une salle destinée à l'exposition d'objets ou ?uvres d'art. Une vue dans, à travers, et à partir, d'un ensemble de « cabinets », récipients à la fois actifs et passifs. Le film se penche sur ce qui rend possible l?intimité dans la médiatisation, grâce à une étroite attention aux mouvements, aux contours, aux textures et aux couleurs des objets et des scénarios proches du réalisateur. L?instable sentiment de présence ressenti entre le sujet, le spectateur, l?auteur et la machine est ce qui anime les transformations visuelles de ce film.

Robert Todd réalise des courts-métrages dans la région de Boston depuis 1990. Son corpus d??uvres, visuellement étonnantes et difficilement définissables ou classables, provient d?un lieu très personnel, calme, réfléchi, et curieux. Ses films empruntent diverses approches poétiques pour examiner les manières personnelles, politiques et sociales avec lesquelles nous choisissons de vivre.

The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering, frequently. The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters and that are rendered in semiotic relationship with nature are: sublime view, role of knowledge, escape from ubiquitous bureaucracy, and apocalyptic tone that comes with the destruction of nature. By applying an organic narrative structure to the generative dynamic forms, a spectator witnesses a definition of a novel cinematic experience. In the movie, all the scenes are generated with computer programming language Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place. The music is generated with various analog, digital synthesizers and software instruments.

Vladimir Todorovic, born 1977. Zrenjanin (Serbia), studied visual arts, at the Academy of the Arts in Belgrade and University of California Santa Barbara. Currently, he is working as Assistant Professor at the School of Art, Design and Media, NTU, Singapore. He co-founded the new media art collective called ʻsyntfarmʼ based in Singapore and the Institute for Flexible Cultures and Technologies `NAPON` in Novi Sad, Serbia. His research and art practice focus on generative art forms that are defining novel approaches in new media art and design. In his work, generative forms are utilized in the development of media performances and installations. They are used in various media including: generative video, audio-visual installation and performance, rapid-prototypes, computer games, mixed-reality systems, nano-fabrication, and various others. His projects were exhibited at events and venues like: ICA Singapore, ISEA08, Wired NextFest, Dislocate07, Enter3, ISEA06, Siggraph 06, Transmediale 05, File 2004, MuseumsQuartier Vienna, Machinista, Entermutlimediale 2, WRO05 Biennale, Museum of Contemporary Arts Belgrade, etc; and reviewed at/by: Channel NewsAsia, Reuters, ?Smart Surfaces? ? Springer/Birkhäuser, Wired, New Scientist, Gamasutra, Futures-labs, Neural.it, Res Magazine, Selectparks.net, Turbulence, Artmagazine, Remont, Danas, etc. Recently, he served as the chair of Ludic Interfaces theme and the organizer of ISEA08 in Singapore.

During a single long shot, we see two people taking turns playing the piano and listening alternately. The piece is the same on both times - Preludi Op. 28 No. 2 by Chopin - but when the performer changes, the interpretation of the song changes along with the perspective from which the song and its performance are viewed. The uninterrupted playing and single shot capture the event in one temporal moment, but as the camera moves and two people change places, time is equally layered. The performer becomes the listener and the listener becomes the performer. In one of the key scenes of Ingmar Bergman's Autumn Sonata (1978), the mother and daughter take turns playing the very same Chopin's Prelude. It is a piece that both are familiar with, so they are able to settle into the position of the other as they listen and watch the other play. A situation like this raises questions about the sense of reciprocity, simultaneity and synaesthesia. Could the roles become mixed from viewer and listener to the object of the gaze and listening? When watching the other playing, can you feel your own hands and fingers on the keys?

Jenni Toikka (b. 1983) is a Helsinki-based visual artist working predominantly with moving images. Toikka graduated from the Academy of Fine Arts, Helsinki in 2012. She has had several solo exhibitions in Helsinki including at Sinne, Forum Box and Kluuvi Gallery. In autumn 2019, her work was shown in the solo exhibition Reel at HAM – Helsinki Art Museum. Jenni Toikka’s video pieces have been seen internationally in group exhibitions and at festivals. Her work is represented in the collections of the Saastamoinen Foundation, Espoo Modern Art museum EMMA and the Museum of Contemporary Art Kiasma.

A chair with breaking legs, a seat that cannot be stabilised, a place that is not guaranteed. The chair is a short animation made for the RCA degree show showreel by Eleni Tomadaki, 2019.

Eleni Tomadaki is a Greek artist based in London. Using moving image, performance and text, her work researches Scurgriness through intersecting fiction and reality. Eleni is a Masters graduate of Royal College of Art 2019, she has shown work at Tate St Ives, South London Gallery, Uppsala Art Museum and Assembly Point amongst others.

2002, Palm Springs, Californie : une incroyable maison d’architecte est rasée au bulldozer par un individu qui venait de l’acheter 2,5 millions de dollars. Construit en 1962, ce "bijou moderniste" situé sur un majestueux terrain de golf en plein désert, fut conçu par Richard Neutra pour héberger une grande collection d’art moderne et contemporain. En puisant dans l’intérêt de Neutra pour la psychanalyse et dans les rumeurs d’une vendetta personnelle de l’acheteur, le film mène l’enquête sur notre désir de protéger et de détruire la beauté. En écho à la théorie psychanalytique de Melanie Klein, la maison devient l’incarnation du bon sein encourageant et protégeant la créativité, tandis que l’acheteur incarne l’envie du mauvais sein destructeur.

Yan Tomaszewski est un artiste franco-polonais travaillant à la croisée de la sculpture, de l’installation et du cinéma. Son travail a été présenté lors d’expositions personnelles, notamment au Musée Archéologique de Cracovie (PL), au Musée de l’Air et de l’Espace au Bourget (FR), au Centre d’art contemporain Kronika à Bytom (PL), au Middelheim Museum à Anvers (BE), à la galerie Asymetria à Varsovie (PL) ou à Primo Piano à Paris (FR). Il a participé à de nombreuses expositions collectives, notamment à Artience (Daejeon, KR), au Fresnoy Studio national des arts contemporains (Tourcoing, FR), au Prix Sciences Po pour l’art contemporain (Paris, FR), à la Galerie municipale Arsenal (Poznan, PL), à Chapter II (Séoul, KR), à la Fondation Hippocrène (Paris, FR), à Chalet Society (Paris, FR) au Centre Pompidou (FR), à Manifesta 9 (Genk, BE), à la Saline Royale d’Arc et Senans (FR). Ses films ont été présentés au FID Marseille (FR) et à DocLisboa (PT).

L'influenceur·euse anglais·e Oli London est fasciné·e par la Corée du Sud et surtout par Jimin, membre du célèbre groupe de K-pop BTS. Depuis des années, iel dépense une fortune en chirurgie esthétique pour lui ressembler et devenir à son tour une star de la K-pop. Son cheminement personnel est mis en scène via un conte coréen parlant de masques, de tabou et de chamanisme.

Yan Tomaszewski is a Franco-Polish filmmaker and visual artist trained at Beaux-Arts de Paris and at Le Fresnoy Studio national des arts contemporains. His often narrative projects combine research-based methodologies with visually seductive outcomes. His films were screened in such festivals as IDFA International Documentary Film Festival in Amsterdam (NL), FIFA Montreal (CA), FID Marseille (FR), Kasseler Dokfest (DE), Doclisboa (PT), and recently in a solo presentation for Prospectif Cinéma at Centre Pompidou in Paris (FR). He has had solo exhibitions at the Archaeological Museum in Krakow (PL), at the Musée de l’Air et de l’Espace in Le Bourget (FR) or the Middelheim Museum in Antwerp (BE). He has taken part in numerous group shows, notably at the MAK Center for Art and Architecture in Los Angeles (USA), at Artience Daejeon (KR), at the Fondation Hippocrène in Paris (FR), at the Centre Pompidou (FR), and at Manifesta 9 in Genk (BE). He has received grants from Ateliers Médicis, French Institute, DRAC, CNC-DICRéAM or the Vysehrad Fund. In 2019 he was nominated for Sciences Po Prize for Contemporary Art and in 2020 he was finalist of Studio Collector Prize and laureate of Allegro Prize.

Dans l?installation vidéo à trois canaux « The Officiel », Chelsea Tonelli Knight explore les fantasmes du pouvoir au sein de la bureaucratie. Tourné dans les bureaux privés et les couloirs de l'ONU à New York, « The Officiel » entreprend d?examiner le rôle d?un diplomate de sexe masculin au sein d?une institution idéalisée. Ce qui semble à première vue être un documentaire ou une interview se transforme en un récit fragmenté dans lequel le théâtre de l'autorité et de la séduction se joue entre le diplomate et son interlocuteur, non identifié. Les deux personnages adoptent une série d'attitudes, en déplaçant les tensions entre institutionnel et intime et en questionnant la manière dont ils se définissent l?un l'autre.

Chelsea Tonelli Knight est une vidéaste et artiste performance basée à Chicago (USA). Elle a obtenu son MFA (Master of Fine Arts) à la School of the Art Institute de Chicago en 2007 et a été boursière Fulbright en Italie en 2007. Knight a exposé aux USA et en Europe, notamment lors d?expositions à la Werkschauhalle Gallery des Spinnereigalerien de Leipzig (Allemagne), au St. Louis Art Museum (USA), au Centro Arte Moderna e Contemporanea della Spezia (Italie) et a participé en 2007 à la Biennale d?Istanbul (Turquie).

?Then I saw the face belonging to the voice that had spoken all night long.?

Oliwia Tonteri studies documentary film and Jerem Tonteri film editing at University of Art and Desing (UIAH), Helsinki.

In the medieval Town Hall Square, in the heart of the Old Town of Tallinn stands a huge fir tree. Christmas is in the air. On the streets is the hustle and bustle of present buying and preparation. Around the tree itself is a Christmas market, a range of kitsch, purpose built, festive stalls almost filling the square with their decorative, superfluous bric-a-brac. Approaching faintly is the familiar sound of the Hare Krishna, those naives with their innocent philosophy who always bring a condescending smile to our faces, blissfully chanting their way through the city ? ?Hare Krishna - Hare Rama?. But as the sound approaches it becomes clear that the chant is not Hare Krishna but actually ?Hare Christmas - Hare Christmas?, and it is not our friends from the Krishna community but in fact a line of Santa Clauses in the familiar red attire and with flowing white beards, skipping along to the rhythm of the chant. A young girl is explaining to us her desire to do something good and worthwhile in the world. She wants to help others. She is kind. The sound of her voice is honest but we do not see the speaker ? what we see is an interior, a living place, if it can be called that. The slum, of an alcoholic, anti-social character, who it is hard to believe has any hope left or even cares anymore. The rooms are infested with cockroaches and flies. Heaps of decomposing rubbish strewn around. We can easily imagine the smell of the place. Two different worlds that at some point in time will collide.

Jaan Toomik (born 1961; lives and works in Tallinn) is a video artist and a painter, often described as the most widely acknowledged Estonian contemporary artist on the international scene. In the Estonian art world Toomik received recognition as a painter from the late 1980s and from the early 1990s as an installation and video artist. The critics often refer to him internationally as the most well-known contemporary artist from Estonia [2] mainly due to his short video works that have received wide international acclaim (e.g. Father and Son, 1998). He has participated at the São Paulo Biennale (1994), ARS ?95 (1995), Manifesta 1 (1996), Venice Biennale (1997; 2003), 4th Berlin biennial of contemporary art (2006).

With precisely composed filmic-tableaux and through minimal movements the work Carusel evokes the image of a post-apocalyptic playground, while somewhere outside or above various doomsday scenarios take their course. It is a setting of the Zeitgeist-phenomenon celebrated by our pop culture in graphic novels, computer games and television series in all of its enjoyment and pessimism. Carusel triggers trails of thought in-between mythical traditions and actual fear of the dark. In an elevator ride in one of the sequences, we eavesdrop a conversation of a family: Arguably, the rest of the world still standing. Carusel was shot in the damp caverns of a former Romanian salt mine which was reused as a bomb shelter in the second world war and is now refurbished as an erie underground amusement park. Though equipped with a carousel, ping-pong tables, a childrens’ playground and rowboats, the combination with large threatening steel structures and surreal light-objects still produce a gloomy atmosphere and ambience of fear. It seems that the mythical echos of the historically charged site are still abound, yet absurdly translated into an uncanny and bizarre „amusement park“. Marlies Wirth

Patrick Topitschnig is a Vienna based filmmaker and audio artist and also collaborates on theatre projects. After he finished his studies in Commercial Information Technology he studied Intermedia Art and Narrative Film in Vienna and Berlin under the likes of Bernhard Leitner, Erwin Wurm, Constanze Ruhm and Thomas Arslan. For his diploma in 2012 he produced the experimental video “Right to Hospitality”. He received several awards, such as the Fred Adelmueller Grant and the Ursula Blickle Preis for his video "Concision of the Whole" (2007) ("Zerschneidung des Ganzen"). In 2013 he was granted the STARTstipendium for video and media art (Austrian Federal Ministry for Culture and Arts). He works primarily with video and sound, often within installative contexts. His works center on direct physical experience and immediate reception of time, as well as on enduring and measuring the passing of time on a visual or on an acoustic basis. Permanent repetitions or continuous oscillations constitute a recurrent theme.

"Postponing the Inevitable" est un film présentant trois interprétations différentes du thème de la mort proche. Basés sur des histoires vraies, les chapitres "Falling", "Faking" et "Freezing" se situent entre le récit cinématographique traditionnel et un espace ambigu de représentation visuelle, demandant au spectateur d'interpréter les indices qui lui sont proposés: un éboueur est photographié par une femme pour une raison inconnue, un homme va et vient sur une plage, un hôpital ne contient qu'un seul patient.

Noam Toran est né en 1975 à las Cruces à New Mexico. Il a étudié les beaux arts. Il a réalisé des décors de théâtre et de cinéma avant de recevoir son MA en design au Royal College of Art de Londres. Son oeuvre utilise plusieurs disciplines et médias, du film à l'installation en passant par le design conceptuel, et explore les implications sociales, psychologiques et éthiques des technologies naissantes, de la culture de masse, du cinéma et de la photographie. L'oeuvre de Toan est exposée, projetée et publiée sur le plan international, notamment au MOMA de New York, au MUDAM du Luxembourg, au Centre Pompidou de Paris, et au Kulturhuset de Stockholm. Actuellement, il enseigne au Royal College of Art et donne des conférences à travers le monde.

?No Place Nowhere? peut parler de plein de sujets. C?est un voyage personnel à travers l?image et le temps. C?est le portrait d?un quartier marginal. C?est la rencontre entre la réalité et la fiction. C?est la recherche constante d´une réalité dans le documentaire. C?est une répétition musicale et la construction permanente d?un film. C?est un documentaire qui traite plus des questions que des réponses. Un visage silencieux, une autoroute vide, un paysage d?hiver, le vent qui souffle dans les feuilles d´un arbre, la mer, n?importe quel quartier donne pour ?créer par les moyens du registre?, une vérité unique pour chaque spectateur.

José Luis Torresest un jeune réalisateur chilien né en 1975. Avec le court métrage ??The Dead?? il a gagné le Fondart Award en 1998. Depuis, il a réalisé beaucoup de vidéos courtes et indépendantes. En 2003, il a reçu une bourse de la Fundación Andes pour la création du documentaire ??No Place Nowhere??. Il travaille en ce moment sur ce qui sera son Opera Prima en réalisation de film : ??The Sky, the Earth and the Rain??, pour lequel il a eu la bourse de la Fundación Carolina pour le projet de développement de la réalisation ibéro-américaine à Madrid en 2003, en Espagne, et la subvention Hubert Bals 2004 du Rotterdam?s Film Festival pour les projets de développement et une mention pour la qualité du projet dans le II Bal du 6e Independent Filmmaking Festival, Buenos Aires, 2004. Dernièrement, il a fini un film en 35 mm ??Women Workers coming out of Factory?? avec le support de la Fondo de Fomento Audiovisual Nacional (FONDART) et qui fut sélectionné dans de nombreux festivals de cinéma comme Toulouse, Huesca, Belo Horizonte, Sao Paulo, Drama (Grand Prix Best Short Film) Viña del Mar and Leeds. Le documentaire ??No Place Nowhere?? a été sélectionné dans plusieurs festivals de film dont le Barcelona DOCUPOLIS 2004 Documentaries International Festival, dans la catégorie Opera Prima, Rotterdam Film Festival, Rencontres de Toulouse, It?s all true documentary festival in Brazil, Vancouver, Canada, Viennale in Austria, etc. Il a été nommé meilleur réalisateur au VIII Santiago Documentaries Festival, FIDOCS 2004.

With no visible human presence, we move through the interior of a house. Like all houses, it contains spaces of darkness and corners hidden from view. That house, that interior, hides its flat background of ephemeral construction. We are inside a set built to the limits of the frame that films it. That house was only a fragment of what it appears to be. “The Uninvited” is a short film not about what there is, but about what there could be. Cinema is an apparatus of power over the representations shown therein and the bonds of continuity of a society. “The Uninvited” shows a house haunted by those absences, its blind spots and the violence of its limits and exclusion that its representations have meant.

Fabiola Torres-Alzaga is a Mexican artist working in contemporary art. She studied photography at “The active school of photography” and visual arts at “La Esmeralda” in Mexico City. She has been investigating focus and nearsightedness present in the act of gazing, and its repercussions in our socio-spatial relationships. I have a keen interest in cinema and its articulations of space and time, as well as stage magic and its defiance of logic. Both disciplines comprise the basis of my research. Through them, I seek to expand the scope of the visible, creating illusionary worlds that intrude into real space, counter-spaces that claim inclusive folds within the rigid limits of patriarchy to generate Other possible relations. Her work has been shows at MUAC (Mexico City, 2021), Lille3000 (France, 2019), the Biennal FEMSA (Zacatecas, 2018), the Anthology Film Archives (New York, 2018), the Biennal of Moving Images (Buenos Aires, 2018), the Paul Kasmin Gallery (New York, 2018), Videoex , Maison des Arts de Malakoff (France, 2016), the Polytechnic Museum of Moscow (Russia, 2015), MARCO (Monterrey, 2015), Museum of El Chopo (Mexico City, 2014), Museum of Modern Art (Mexico City, 2014), Laboratorio Arte Alameda (Mexico City, 2011), the Center for Contemporary Art (Tel Aviv, 2006) and Sala de Arte Público Siqueiros (Mexico City, 2004), among others. She has published “Historias de la noche” (Stories of the night, ESPAC, 2019) a book/project in dialogue with cinema curator Mara Fortes, and a solo catalogue “Fabiola Torres-Alzaga: In between acts” (Museo Universitario del Chopo, 2015), she´s currently a member of the Fonca’s Sistema Nacional de Creadores.

Hardly Working sheds a limelight on the very characters that normally remain in the background of video games: NPCs. They are non-player characters that populate the digital world as extras to create the appearance of normality. A laundress, a stable boy, a street sweeper and a carpenter are observed with ethnographic precision. They are Sisyphus machines, whose labour routines, activity patterns as well as bugs and malfunctions paint a vivid analogy for work under capitalism.

The pseudo-marxist media guerilla Total Refusal explores and practices strategies for artistic intervention in contemporary video games. It works with tools of appropriation and rededication of game resources. Their films and performances were presented among others at Berlinale ‘20, Locarno 22 and at the MoMA in NYC and they have received more than 46 international and national awards and honorary mentions. The current members of Total Refusal are: Susanna Flock, Adrian Jonas Haim, Jona Kleinlein, Robin Klengel, Leonhard Müllner & Michael Stumpf

Existerait-il une fin à l’analyse, ou bien serions-nous condamnés, comme dans Mémoires d’une infirmière, à revivre et réexaminer les événements passés éternellement, néanmoins sous un nouvel angle ? Ce troisième volet d’une trilogie d’hybride de film et de théâtre, avec des marionnettes, se passe après la mort, dans un au-delà où la psychanalyse est obligatoire et s’avère être un processus infini. Sur la frontière flottant entre rêve et cauchemar, utopie et dystopie, la protagoniste : E recherche du sens de l’amour via le transfert envers son analyste, qu’elle perçoit comme un objet sauveteur et réparateur. Le psychanalyste est la marionnette de David Lynch et la marionnette de Larry David est à l’accueil du hall post-mortem.

Esther Toth, née à Budapest, est diplômée de l’École Nationale Supérieure des Beaux Arts. En 2010 elle a commencé une série de films avec des marionnettes : une exploration du processus psychanalytique, qui se suivra par un film sur Walter Benjamin. Les deux premiers volets de la trilogie (M’as-tu rêvé ou t’ai-je rêvé ? , Sisters, un cas classique) ont été présentés au Palais de Tokyo, Mémoires d’une infirmière au Freud Museum, à Londres, et il sera projeté au Centre Pompidou à Paris, à l’automne 2017.

« Jalal, la nuit dernière, j’ai rêvé de notre film. » « Quel film ? » « Celui sur lequel nous travaillons ces jours-ci. » « Hong Kong, Chine, Solaris ? » « Oui. » Peut-on faire un rêve dans lequel les souhaits, les plus profonds et inconscients sont exaucés par Solaris ou un équivalent de Solaris, l’océan extraterrestre hyperintelligent et sensible du film Solaris de Tarkovski qui exauce de tels souhaits ? Oui, si notre méta-souhait est de voir nos souhaits inconscients réalisés de la manière dont Solaris le fait plutôt que de la manière dont les rêves le font (par le biais de mécanismes tels que la condensation et le déplacement). Il faut cependant garder à l’esprit que, puisque les rêves sont des exaucements de souhaits, Solaris ou un équivalent de Solaris finirait par nous rendre incapables de rêver, insomniaques, car il rendrait les rêves superflus. En rêvant de Solaris ou d’un équivalent de Solaris, on rêverait d’un endroit où l’on ne peut pas rêver, où il n'y a pas de rêves.

Graziella Rizkallah est une réalisatrice libanaise. Ses vidéos ont été présentées à la 11ème Biennale de Sharjah, au Musée d’art moderne de San Francisco, au MAXXI, à la première Biennale d'Asie et à la 5ème Triennale de Guangzhou, à la 7ème Biennale d’urbanisme et d’architecture de Shenzhen, au Times Art Center de Berlin, à Darat al Funun (Amman) et au Beirut Art Center. Jalal Toufic est un penseur et un mortel à en mourir. Il est né en 1962 à Beyrouth ou à Bagdad et est mort avant de mourir en 1989 à Evanston, dans l’Illinois. Outre l’écriture de plus de dix livres, il a réalisé plus de dix films et vidéos, dont des films-essais et des films conceptuels, des courts métrages (7 minutes, 8 minutes, etc.), des longs métrages (110 minutes, 138 minutes, etc.) et des films « inhumainement » longs (72 heures, 50 heures), des vidéos qui sont des œuvres autonomes et d’autres qui font partie d’œuvres mixtes, des films qu’il a tournés et des films dont toutes les images sont tirées d’œuvres d’autres cinéastes (Hitchcock, Sokourov, Bergman, etc.). Son travail a été présenté aux 6ème, 10ème et 11ème Biennales de Sharjah, à la 9ème Biennale de Shanghai, à la 5ème Triennale de Guangzhou, au MoMA PS1, au Musée d’art moderne de San Francisco, au Centre Pompidou, au ZKM, à la Kunsthalle Fridericianum, au MAXXI, au Witte de With et aux Deichtorhallen de Hambourg.